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ASSIGNMENT | Creating the Conference Logo

Schedule:
Monday 10/11
(20) Rough Thumbnail Sketches of Conference Logo (By hand)

Monday 10/18
(minimum of five variations or mark and 5 variations of fonts) Refined Sketches of Conference Logo (Done on Computer-Type and Color-Print Out)

Wednesday 10/20
Final Conference Logo (Done on Computer-Type and Color-Print Out)

"After all, inner values and characteristics are only revealed through outer forms, and it is only these outer forms that can get people to fall in love with brands and associate products and services with them."–Meta Design

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When creating your logo remember to explore visual concepts that convey the meaning of your conference. Images do not have to be literal, and often are best if they expand on key concepts. For example, Apple is now known because of the mark, but when it was first introduced the concept of biting in the apple represented risk, learning, simplicity, education. By using the apple rather than school symbols they were apple to expand on the meaning of the mark. Also, abstraction can often be more successful than literal interpretation because it allows the user to embed meaning into the mark.

Remember to use positive and negative space as economically as possible. As you learned in Vis Com 1, key visual elements are important in logo rendering for example use of line, implied line, shape, implied shape, contrast, depth, value, pattern, direction and movement. Remember to combine an element and shape, often this creates a much more dynamic mark.

When assessing typefaces I approach mark making two ways. I look for a typeface that best conveys the primary meaning of the brand. For example, if they company is progressive, risky, entrepreneurial I will most likely use a font that is san serif with a bit of an edge such as Eurostile. I look at 15-20 fonts that meet my objective, then I begin to look at letter shapes within the typefaces I have chosen. I look for counter forms, positive and negative space within the actual letterforms themselves. I combine, intersect, reverse and explore typographic relationships as it relates to the specific naming of the conference or brand. A logotype is often when a designer can interpret and render typographic explorations. Please look at negative space "FedEx" is a great example of this.

Once you have explored visual and typographic forms I then combine my marks to create a consistent relationship between the mark and typographic element. I address line weight and overall contrast and whether or not the two systems relate and discern what adjustments I need to make. The same type of thinking that went into crafting your ligature in Type 1, you looked at Positive/Negative space, consistency of letterforms throughout the ligature series, you created common systems of forms such as the shoulder or stem.

Your process will be rapid sketches, I softer work on tracing paper to copy over and retrace. Next I move to refining certain concepts with several "re-sketches". I then typically scan in my sketches and begin to render tighter sketches. With type I use "FontBook" or online type sources to explore different typographic families. I then move to printing out and tracing/sketching my forms.

After I have explored both of these methods I work on the computer to enhance/add and modify my work into a well crafted form.

( In the past I would have required your "Lock Up" to work solely in B/W. I am reticent to continue to believe 100% in this model for example see the BP logo. So I will let you decide.)